Confiteor


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Con·fi·te·or

 (kən-fē′tē-ər, -ôr′)
n.
A prayer in which confession of sins is made.

[Latin Cōnfiteor, I confess, the first word of the prayer, first person sing. present tense of confitērī, to acknowledge; see confess.]

Confiteor

(kənˈfɪtɪˌɔː)
n
(Roman Catholic Church) RC Church a prayer consisting of a general confession of sinfulness and an entreaty for forgiveness
[C13: from Latin: I confess; from the beginning of the Latin prayer of confession]

Con•fit•e•or

(kənˈfɪt iˌɔr)

n.
a prayer in the form of a general confession said esp. at the beginning of the Roman Catholic mass.
[1150–1200; Middle English; after first word of Latin prayer: I confess]
References in periodicals archive ?
Michael in the Confiteor as a protection against evil.
The Confiteor then paraphrases only the second half of the verse, at the text "cernit tristia, compatitur.
At the end of the Confiteor those of us in the pews observe your face on TV as you ask forgiveness on behalf of the church for all those it has hurt, living and dead.
Mass begins, and I am struck by the words of the Confiteor.
The song uses extensive samples from Latin masses (specifically, Tennant reciting a part of the Confiteor, and other sounds recorded at locations such as Westminster Cathedral) and religious imagery throughout.
Berretto rosso (1965), Confiteor (1973), Il tredicesimo invitato (1980),
In a sense, then, the ending of this play points to the end of witchcraft tragedy itself, because Sawyer's confessional appeal to "bear witness" anticipates the dominant note struck by modern witchcraft drama, in which the key speech acts are not supernatural performatives, but rather the social and judicial speech acts of testimony and confession: the witch's infernal precor is replaced by the merely human testor and confiteor.
His "credo corde & confiteor ore" requested baptism and membership.
Plagas, sicut Thomas, non intueor: Deum tamen meum te confiteor.
17) Some of these works carnivalize the confiteor or general confession of sins, a prayer that was recited in preparation for mass.
In the difficult Confiteor section, however, the choir's clarity was superb, particularly at the end where the singing is a capella.
Of the 17 choruses, nine are set for five voices (SSATB) in the Italian Baroque choral tradition: Kyrie I, Gloria, Et in terra pax, Cum sancto Spirito, Credo I, Et incarnatus, Et resurrexit, Confiteor, and Et expecto.